Art references

Image above: Turner Snow Storm – Steam Boat off Harbour’s Mouth 1842

Lectures, collections, film

Lectures

Friday 8 December 2017 Biennale of Sydney talk on key ideas underpinning the 2018 Biennale, Wollongong Art Gallery (Speaker: Dr Liz Bradshaw, Learning Coordinator Sydney Biennale)
Superposition: Equilibrium & Engagement from 16 March to 11 June 2018, Artistic Director Mami Kataoka, Chief Curator at the Mori Art Museum (MAM) in Tokyo. Concepts behind the title: superposition from quantum mechanics, atoms and movement and impact, mutual influence, multiplicity in global context, social realities and particular systems; equilibrium Wu Xing philosophy, five elements metal, water, wood, fire, earth;

Wu_XingThe system of five phases was used in China for describing interactions and relationships between phenomena, came to maturity in the second or first century BCE during the Han dynasty; Engagement communities, meaning of abstraction, perception of nature, responding to land, human histories and conditions.
Selection of artists based on abstraction and cultural meaning of Sydney city, Sydney in a global context. 37 participating artists have been announced with the complete list of participating artists to be released in late December 2017.
Venues and some of the artists: AGNSW – archive, tracing ideas, history of previous exhibitions, N.S. Harsha (India), Noguchi Rika (Japan); ArtSpace – Geng Xue (China), Tanya Goel (India); Carriageworks – works addressing perception of nature and landscapes Chen Shaoxiong (China), Haegue Yang (South Korea); Cockatoo Island – practice and process works made onsite Anya Gallaccio (Scotland), Mit Jai Inn (Thailand), Prabhavathi Meppayil (India), Yasmin Smith (Australia), Yukinori Yanagi (Japan), Kate Newby (New Zealand), Wong Hoy Cheong (Malaysia); MCA – Brook Andrew (Australia), Ciara Phillips (Canada), Nicole Wong (Hong Kong), Opera House – Oliver Beer (England); 4A Centre – Akira Takayama (Japan), Jun Yang (China)

Wednesday 15 November 2017 Persian Architecture: building with the elements (Speaker: Dr Christopher Allen, classical scholar and art critic The Australian) AGNSW
Use of the elements: earth, air, water. Volume, flat surfaces, sculptural qualities, domes originally from fire places, later domes used to diffuse heat from the sun, early architecture just brick (clay and sand) no adornment, tiling developed after the Mongol period, developed into complex tile work often featuring calligraphy. Wind catchers designed to cool underground rooms and to keep water cool. Water temples used sophisticated irrigation systems drawn from underground water-tables.

Persian Palace of Ardashir, constructed in 224
Palace of Ardashir, constructed in 224, among the oldest examples of large-scale domes

Persian The Great Mosque (or Masjid-e Jameh) of Isfahan late 11th century
The Great Mosque of Isfahan, late 11th century

Persian The Garden of Fin, Kashan 17th - 19th century
The Garden of Fin, Kashan 17th – 19th century

Wednesday 8 November 2017 Max Dupain and the beach (Speaker: Gael Newton former curator NGA and AGNSW) AGNSW
Few Australian iconic photographs, Cazneaux Spirit of Endurance (1937) slipped into obscurity until 1975 retrospective, Dupain’s Sunbaker (1937) is more than a figure study it’s about the beach. A fan of D. H. Lawrence. Captured natural aesthetic, vitalism. Monograph published in 1948, only the second published on photography. Photography not accepted as an art form until the 1970s. Concerned with austere modernism, from early romantic to surrealism. Became successful in photography in his early 20s. Lived in Sydney and spent holidays at Newport Beach, water was his element. Full-time photographer 1930-34 broke with the NSW Photographic Society and followed the modernists, especially Man Ray, Flight of the Spectres (1932), Pyrmont Silos (1933) clarity of form. In 1935 Art in Australia published portfolio. Realism, romanticism, high powered illumination, surrealism. The Thin Man (1936), Form at Bondi (1939). Early 1950s pins down form, natural element, most free, At Newport 1952. On continual quest, never satisfied, looking for meaning. 1975 burst of late creativity, Souvenir of Newport Beach (1975).

Dupain (Max) Flight of the Spectres 1932
Flight of the Spectres (1932)

Dupain (Max) Pyrmont Silos 1933
Pyrmont Silos (1933)

Dupain (Max) The Thin Man 1936
The Thin Man (1936)

Dupain (Max) Sunbaker 1937
Sunbaker (1937)

Dupain (Max) Form at Bondi 1939
Form at Bondi (1939)

Dupain (Max) At Newport 1952
At Newport (1952)

Dupain (Max) Souvenir of Newport Beach 1975
Souvenir of Newport Beach (1975)

Wednesday 25 October 2017 Fred Williams and the You Yangs (Speaker Dr Deborah Hart, Head of Australian Art, NGA) AGNSW
The You Yangs series in the 1960s pivotal to his wider development to more minimal works at the end of the decade contributing to dramatic shifts in processes through the 1970s. Cezanne major influence. Redefined how we see the Australian landscape. Made gouache paintings and drawings in the landscape and completed works in his studio. Started as figurative painter, pared away compositions, structural geometry. Engaged with the Australian landscape on his return from London. The Nattai River, 1958, trees, rocks, water correlation with Cezanne’s Rocks near the caves above the Chateau Noir (c. 1904). Tom Roberts also major influence Sherbrooke Forest (1924). Master of the use of gouache, Young Saplings Mittagong (1961), nuanced colour, balanced representation/abstraction, the move towards minimalism comes and goes in his work of the period. You Yangs landscape (1963) random scatter of elements, use of vertical and horizontal lines. The You Yangs series a new language and theme, aware of the work of Sam Francis, and Mondrian, structural and directional lines, distillation and geometry Knoll in the You Yangs (1965), wilder, confident, and assured. Great print maker, tonal variation. By 1963 less structured, minimal Lysterfield triptych (1967-68). Chinese/Japanese aesthetic, horizon line dissolving, pared back the surface, energy of marks, sense of space, emptiness, Minimal landscape no. 1 (1969) extreme minimalism. My Garden (1965-67) based on Tom Robert’s Bailed Up (1895-1927). Matisse major influence in use of colour. Reached end point with minimalism. Lightning storm, Waratah Bay (1971-72), rocks, trees, water engaged with the landscape. Murray Pass (1974) strip gouaches, muted palette. Whistler big influence, simple sky, land, water in Beachscape, Erith Island (1974). Interested in the colour field painters, first Australian to be invited for solo exhibition at MoMA, Fred Williams – Landscapes of a Continent in 1977. In the film Patterns of Landscape (1989) he talks about painting in the landscape.

Other references
Fred Williams: Infinite Horizons, exhibition, National Gallery of Australia 8 October 2011
Fred Williams in the You Yangs: a turning point for Australian art, Anita Pisch, The Conversation, 20 September 2017

Williams (Fred) The Nattai River 1958
The Nattai River, 1958

Williams (Fred) Young Saplings Mittagong 1961
Young Saplings Mittagong, (1961)

Williams (Fred) You Yangs landscape 1963
You Yangs landscape (1963)

Williams (Fred) Knoll in the You Yangs 1965 AGNSW
Knoll in the You Yangs (1965)

Williams (Fred) Lysterfield triptych 1967-68
Lysterfield triptych (1967-68)

Williams (Fred) My Garden 1965-67
My Garden (1965-67)

Williams (Fred) Lightning storm, Waratah Bay 1971-72
Lightning storm, Waratah Bay (1971-72)

Wednesday 18 October 2017 Cezanne & Provence (Speaker: Professor Anthea Callen, ANU and University of Nottingham) AGNSW
Mont Sainte-Victoire in southern France, dominates the countryside near Aix, Cézanne’s home. Composition, format, shape and size of location, of what he called motif, large areas of colours used to build up the painting, Mont Sainte-Victoire, ca. 1904–06. Influenced by Pissarro, Courbet, they all took up use of palette knife. Early influence Delacroix. Dark period 1861–1870, works include The Murder 1868. Composition in House of the Hanged Man 1873 change of direction, adopted limited palette. Influenced by Japanese prints. The Bay of Marseilles from L’Estaque, 1878, construction, high horizon, background about as close as the foreground. Brushwork more orderly and systematic but not totally uniform. Bathers, 1890, figures arranged right across the picture plane, naturalism, subtler, oil colour used like watercolour. With his still life paintings, looking and partly what he experiences, an exercise for landscape painting, Still Life with Apples 1895-98. Large Bathers 1900-1905 deeply classical, by contrast at the same time Monet was painting his waterlilies series.

Cezanne (Paul) House of the Hanged Man, Auvers-sur-Oise, 1873
House of the Hanged Man, Auvers-sur-Oise, 1873

Cezanne (Paul) The Bay of Marseilles from L'Estaque 1878 (2).gif
The Bay of Marseilles from L’Estaque, 1878

Cezanne (Paul) Bathers, 1890
Bathers, 1890

Cezanne (Paul) Still Life with Apples 1895-98
Still Life with Apples 1895-98

Cezanne (Paul) Large Bathers 1900-1905
Large Bathers 1900-1905

L.1988.62.5
Mont Sainte-Victoire, ca. 1904–06

Wednesday 11 October 2017 Monet and the Seine River (Speaker: Professor Anthea Callen, ANU and University of Nottingham) AGNSW
Importance of water – light and reflection – leading to the waterlily paintings and the foundations of modern abstraction. Impression, Sunrise, 1872, key painting, exhibited in 1874 at the first impressionist exhibition, seen as a study not a finished work hence the adoption of the term ‘impressionist’. Water a key theme throughout Monet’s life, studies began between Paris and the coast. Reflective powers of water, new dimension central to germination of the impressionist movement. Change in shape and format, composition of horizon with Fishing Boats at Le Havre (c.1866) abstract composition, cut out the skyline, reflected in the water, flatter plane. Worked from nature, outside in the tradition of French en plein air painting which started from the 1840s. What was painted outside became valued in its own right. By 1870s artists could buy kits for painting outdoors including new colours in tubes. Colleagues included Bazille, Renoir, Sisley. Influenced by Boudin who encourage him to make studies outside. Bathers at la Grenouillére, 1869 multiple perspective, looking down then across and straight ahead, high vanishing point. By 1870 the group had largely split up. In The Beach at Trouville, 1870, patches of the grey primed canvas show through. Purchased a boat, a floating studio, which produced unusual compositions from river level such as the abstract Four Poplars, 1891. Japanese prints, and the inclusion of footbridges, a key influence on compositions. Waterlilies, Le Bassin aux nympheas, 1907-1916 no horizon, overwhelming scale, radical for the time.

Monet (Claude) Impression, Sunrise (Impression, soleil levant), 1872
Impression, Sunrise (Impression, soleil levant), 1872

Monet (Claude) Fishing Boats at Le Havre c 1866
Fishing Boats at Le Havre, c.1866

Monet (Claude) Bathers at La Grenouillère 1869
Bathers at la Grenouillére, 1869

Monet (Claude) The Beach at Trouville, 1870
The Beach at Trouville, 1870

Monet (Claude) Four Poplars, 1891
Four Poplars, 1891

Monet (Claude) Le Bassin aux nympheas, 1907-1919
Le Bassin aux nympheas, 1907-1919

Wednesday 20 September 2017 Sally Gabori and Bentick Island (Speaker: Bruce Johnson McLean, Curator, Queensland Art Gallery) AGNSW
Mirdidingkingathi Juwarnda Sally Gabori (c.1924–2015) started painting in 2005 at the age of 81, after making contact with Mornington Island Arts and Crafts Centre. Within eight months exhibiting work of a type no-one had seen before. Painting every day, she went on to produce over 1,000 works in the last ten years of her life. A senior Kaiadilt woman artist from Dulka Warngiid (Bentinck) Island in the Gulf of Carpentaria, Queensland. Gabori’s Aboriginal name relates to her totem: Mirdidingkingathi refers to the place of her birth, Mirdidingki, and Juwarnda means ‘black dolphin’. Prior to the arrival of missionaries in the region, she lived a traditional life acquiring the skills and knowledge of her people, including the arts of rolling bark string and making dilly bags and coolamons. She also played a vital role in maintaining the stone-walled fish traps on the shores of the island, which provided the majority of the food supply. At the age of 20, all her people on the island were moved to Mornington Island due to cyclones, massive flooding and loss of fresh water supplies. Unable to move back to her homeland she retained connection in her mind in song. Her works demonstrate a confidence and energy derived from a lifetime of experiences distilled to their most potent visual form. The colours in her work represent the flashes of light and colour of the water, coral reefs, fish, the intertidal zones. The work Ninjilki, (2006), in the collection of the Musée du quai Branly, Paris, represents the Nyinyilki lagoon. In the 1980s following granting of land rights, she returned to her homeland on a regular basis.

Gaboi (Sally) Dibirdibi Country - Topway 2006
Sally Gabori, Dibirdibi Country – Topway, 2006

Gabori (Sally) Ninjilki, 2006 Musee du quai Branly
Sally Gabori, Ninjilki, 2006

Gabori (Sally) Dibirdibi country, 2010 AGNSW
Sally Gabori, Dibirdibi country, 2010

Gabori (Sally) Dibirdibi Country 2012 QAGSally Gabori, Dibirdibi Country, 2012

Wednesday 13 September 2017 Jacob van Ruisdael, Aelbert Cuyp Dutch Landscape Painting in the 17th Century (Speaker: Peter Raissis, Curator, AGNSW) AGNSW
During the 17th century painters in the northern Netherlands created a type of naturalistic landscape that was wholly new to European art and it strongly influenced Western landscape painting for the next 200 years. An appreciation of nature for its own sake, to describe the look and feel of country as accurately as possible, some are often a mixture of topographical fact and artistic fiction. The Dutch republic the richest in the century, a self-confident period where art was made for the market, ruled by the middle class, the burghers. Paul Brill A wooded landscape with a bridge and sportsmen at the edge of the river (1590s) a precursor, with the use of light and dark in angle accession results in recession. In 17th century there were two streams: southern Mediterranean Rome (classical) and Northern Dutch. Poussin staged landscapes heroic rigorous order, Claude important influence on the Dutch. Dutch achieved quality of realism which portrayed recognisable scenery, most painted in studios from sketches made in the field, often edited to improve on nature, Ruisdael’s The Castle at Benheim (1653) exaggeration of the size of the castle. By the mid 17th century nature started to dominate over people in Jan van Goyen Landscape with two oaks (1641), uncluttered, colour has almost disappeared, dramatic, tonal, captures mood of nature. Jacob van Ruisdael most important painter of the age produced over 700 landscapes, Dunes (early 1650s), plein air effect, influenced Corot, Windmill at Wijk bij Duurstede (1670) iconic work, windmills state of the art technology in flood mitigation, produced a series bleaching fields at Haarlem in the 1660s featuring 70-75 cloud formations, with two thirds of the paintings devoted to the sky View of Haarlem with bleaching grounds (1670-75), The Jewish cemetery (1654-55) laden with allegoric and symbolic meaning, Winter landscape with two windmills (1675-80) later work limited tonal palette, dominant sky. Aelbert Cuyp A River scene with distant windmills (1640-42), The Valkhof at Nijmegen (1650s), luminosity of the sky, tonal paintings (after Claude).

van Ruisdael (Jacob) Dunes early 1650s
Jacob van Ruisdael, Dunes (early 1650s)

van Ruisdael (Jacob) View_of_Haarlem_with_Bleaching_Grounds_c1665
Jacob van Ruisdael, View of Haarlem with bleaching grounds (1670-75)

vanRuisdael (Jacob) The Jewish Cemetery 1650s
Jacob van Ruisdael, The Jewish cemetery (1654-55)

van Ruisdael (Jacob) Winter landscape with two windmills (1675-80)
Jacob van Ruisdael, Winter landscape with two windmills (1675-80)

Cuyp (Aelbert ) A River scene with distant windmills (1640-42)
Aelbert Cuyp A River scene with distant windmills (1640-42)

Cuyp (Aelbert ), The Valkhof at Nijmegen (1650s)
Aelbert Cuyp, The Valkhof at Nijmegen (1650s)

Wednesday 6 September 2017 Abdulnasser Gharem and contemporary Saudi Arabia (Speaker: Dr Mikala Tai, RMIT, and The University of Melbourne)
In Place and Politics (1987), John Agnew contends that for a space to become a ‘place’, three requirements need to be met

  1. A specific location, something that answers the question, ‘Where?’ in relation to everywhere else.
  2. A locale – the actual shape of the space, such as defined by the walls in a room or parks and streets in a city, etc. but usually associated with everyday activities (work, recreation, etc.)
  3. A sense of place – the personal and emotional attachment people have to a place

Other references:
Gaston Bachelard, Poetics of Place (1958)
Roland Barthes, Empire of Signs (1970)
Will Self Walking to Hollywood (2010)

Saudi Arabia’s Islamic art tradition through calligraphy, unique geometric tile designs, music and poetry, but austere and conservative, and now a dynamic and enabling culture with interaction with the international art world. Abdulnasser Gharem from a small town, worked in the military up until 2014, no formal art training. When he joined the military it gave him access to the internet and he used it to seek out information on artists from around the world. In 2004 Gharem and the Al-Meftaha artists staged a group exhibition, Shattah. in Saudi Arabia. Since then he has shown his work in embassies in Saudi Arabia, and extensively overseas including at the Tate, Venice Biennale 2011, most recently in April-July 2017 an exhibition at LACMA. Actively working within cultural boundaries. In April 2011, his installation Message/Messenger sold for a world record price at auction in Dubai for $US 842,500. His father owned a furniture store which provides some background to the making of his work. In 2003 he used proceeds from the sale of his works to set up the non-profit arts initiative Edge of Arabia. Most works like The Capitol Dome (2012) are made overseas as those made in Saudi Arabia cannot leave the country. His stamp paintings are made up of rubber stamps, derived from life in the military which was bureaucratic, a world populated with procedures, protocol and paperwork — “rejected,” “accepted,” “check paid,” stamps, and a commentary on bureaucracy that controls every aspect of life. His rubber stamp works include hidden messages, read backward, like a stamp, include works Camouflage (2014), Concrete Block (Red and White) (2013). Established Gharem Studio, Riyadh in 2013 to foster interaction for younger artists, a community transforming effect of education, developing an ecology for freedom of thought.

Gharem (Abdulnasser) Message Messenger 2010 (2)
Message/Messenger, 2010

Gharem (Abdulnasser) The Capitol Dome 2012
The Capitol Dome, 2012

Gharem (Abdulnasser) Concrete Block (Red and White), 2013
Concrete Block (Red and White), 2013

Gharem (Abdulnasser) Camouflage 2014
Camouflage, 2014

Wednesday 30 August 2017 Rosalie Gascoigne and the Monaro (Speaker: Kelly Gellatly, Director, Ian Potter Museum of Art, University of Melbourne)
No formal art training, at age 57 emerged as fully formed artist to begin exhibiting in 1974. In 1982 first female Australian artist at Venice Biennale. Rapid ascension in the art world. Left New Zealand in 1943 set up home with her astronomer husband in the isolated scientific community of Mount Stromlo near Canberra. Spent seventeen years raising her family there. Experienced isolation and sought solace in nature, collecting found materials around Canberra hinterland central to her practice. Flower arranging (1955-62), probably exhibited in Canberra, noted for innovative use of materials. In 1960 moved to Canberra. Influence of Japanese art form Sogetsu Ikebana, training gave discipline to her art, line and form. Disillusioned with the hierarchical approach, didn’t fit the Australian landscape, gave up Ikebana in 1973, but still present in her later works like Balance 1984. Soft drink crates significant works. Homage to Colin McCahon in Age of Innocence 1993 and Suddenly the Lake 1995. In Monaro, 1989 importance of the poetry of David Campbell which captures the contemplative experience of the Monaro plains. From form and line, shifted palette (yellow, blue, red, earth) significantly over time. A lot of the work focusses on being in the landscape. Inspired amongst others by the artists Colin McCahon, Ken Whisson, Dick Watkins, and Robert Rauschenberg.

Gascoigne (Rosalie) Tesserae 4, 1989
Rosalie Gascoigne, Tesserae 4, 1989

Gascoigne (Rosalie) Monaro 1989
Rosalie Gascoigne, Monaro, 1989

Gascoigne (Rosalie) Suddenly the Lake, 1995
Rosalie Gascoigne, Suddenly the Lake, 1995

Gascoigne (Rosalie )The Apple Isle, 1994-5
Rosalie Gascoigne, The Apple Isle, 1994-5

Gascoigne (Rosalie) Full Fathom Five, 1998
Rosalie Gascoigne, Full Fathom Five, 1998

Thursday 24 August 2017 Voyaging through Pacific Islands and Collections: Encounters with Captain Cook (Speakers: Dr Jenny Newell, Manager East Pacific Collection, and Dr Michael Mel, Manager West Pacific Collection) Australian Museum
Presentation of items from the collection: traded, ‘acquired’, or given to Cook on his voyages Society Islands (Tahiti, Moorea, Raiatea,), Tuamotus, Marquesas, Vanuatu
Some of the items discussed or presented
Heva Mourning Dress, Society Islands
Ahu-parau – Pearl-cloth ornament, Society Islands – collected on Cook’s second or third voyage (1772-1780)
Hawaiian feather cloak collected from Hawaii in 1778 during Cook’s third voyage

Wednesday 23 August 2017 Land Art, from Robert Smithson to Agnes Denes (Speaker: Dr Michael Hill, Art History and Theory, National Art School) AGNSW
Art movement that emerged in the 1960s and 1970s fostered by environmentalism, to capture the physicality of the site and the cultural meaning of the site.
Raw Nature and Natural Process: Jannis Kounellis Dry Stone Wall, 1969
Small Gallery vs Large World: Yoko Ono Sky TV, 1966
Beyond the Gallery – Earth Art: Michael Heizer Double Negative Nevada, 1969. Robert Smithson Spiral Jetty, Great Salt Lake Utah, 1970
Site Specific – Celebration of Nature: Nancy Holt Sun Tunnels, Great Basin Desert, Utah, 1976. Walter de Maria, Lightening Field, New Mexico, 1977
Back to the Gallery as Site: Walter de Maria, New York Earth Room, 1977
Jessica Stockholder St Clementines, New York 1988
Revealing the Site: Christo and Jeanne Claude, Wrapped Coast, Little Bay Sydney, 1968. Christo and Jeanne Claude, Running Fence, California, 1973
Land Rehabilitation: Robert Morris Johnson Pit, Washington State, 1979
Ecology and Environmentalism: Alan Sonfist, Time Landscape, New York, 197
Intervention and Site: Richard Serra Tilted Arc, New York, 1981 (only lasted six months due to public backlash). Agnes Denes Wheatfield – A Confrontation, Manhattan, 1982

Smithson (Robert) Spiral Jetty, Great Salt Lake Utah, 1970
Robert Smithson Spiral Jetty, Great Salt Lake Utah, 1970

Holt (Nancy) Sun Tunnels, Great Basin Desert, Utah, 1976
Nancy Holt Sun Tunnels, Great Basin Desert, Utah, 1976

De Maria (Walter) Lightning Field, New Mexico, 1977
Walter de Maria, Lightning Field, New Mexico, 1977

Wednesday 16 August 2017 Frank Hinder, Brett Whiteley, Tracey Moffatt and New York (Speaker: Craig Judd, curator and artist) AGNSW
New York: infernal dynamism, glamour, poetic questing energy, and unique possibilities of an urban environment with a total population close to that of Australia. These qualities affected the three very different Australian artists.
Frank Hinder (1906-1992) modernist dreamer. Studied under Rubbo and Dadswell. In Chicago honed design skills, synthetic cubism. Studied at NY School of Fine Arts. Moved back to Australia in 1934. First solo exhibition in 1937. US experience in non-objective abstraction led to 1939 first non-objective exhibition held in Australia
Brett Whiteley (1939-1992) self-styed tragic genius. Arrived in NY on a scholarship at age 22, after London and the Christie series. Lived at the Chelsea Hotel, a retreat for many well known artists, writers, musicians, etc., took risks in a culture of explosive energy, saw himself as an art visionary which got in the way of his art, resulted in The American Dream (1968) a grandiose work. On return to Australia produced Alchemy (1973) a reflection on American life, influenced by Bosch. Interior with Times Past (1976) another important work post NY.
Tracey Moffatt (1960-) probably Australia’s most successful international artist. Lived in NY from 1980s onwards. 1995 work Roller Derby set trajectory to success in the US, Guapa (Good looking) (1995) the frenetic world of roller-derby girls, Heaven (1997) the ultimate voyeur as she videotaped male surfers publicly dressing and undressing at Bondi Beach. Scarred for Life (1994) use of text to frame work about life, folk tales. Invocations (2000) stories of childhood, about witchcraft and magic, lost and found child. My First Job (2008) some of her most successful work. The Body Remembered in the 2017 Venice Biennale, a timelessness to her work.

Hinder (Frank) Acton ACT 1942
Frank Hinder, Acton ACT, 1942

Hinder (Frank) Tram Kaliedoscope 1948
Frank Hinder, Tram Kaliedoscope, 1948

Hinder (Frank) Over the Bridge 1957
Frank Hinder, Over the Bridge, 1957

Whiteley (Brett) Interior with Times Past 1976
Brett Whiteley, Interior with Times Past, 1976

Moffatt (Tracey) Useless 1974
Tracey Moffatt, Useless, 1974, from the series Scarred for Life

Moffatt,(Tracey) Something More 1989
Tracey Moffatt, Something more, 1989, from the Something More series

Moffatt (Tracey) Invocations 5, 2000
Tracey Moffatt, Invocations 5, 2000, from the series Invocations

Moffatt (Tracey) The Body Remembered, 2017 Venice Biennale
Tracey Moffatt, The Body Remembered, 2017 Venice Biennale

Wednesday 9 August 2017 The Heidelberg School: Tom Roberts, Arthur Streeton, Charles Conder, Jane Sutherland, Frederick McCubbin (Speaker: Georgina Cole, Art History, National Art School) AGNSW
In the 1880s the Heidelberg School introduced progressive European painting techniques, open-ended treatment of form and atmosphere, invited the viewer to complete the picture in their imagination to create relationship with the bush. Roberts, inspired by Buvelot, painting directly from nature, a deliberate attempt to turn away from tradition. Another influence Whistler Nocturne: Blue and Silver – Chelsea, 1871, tonal studies linked to music. Bastien-Lepage another influence, tonal compressed composition. Before his return to Australia in 1885, Roberts painted A Moorish Doorway in Spain in 1883 with light and colour, where colour is used to represent the form rather than line and tone. The naturalistic quality of light and tone combined with en plein air work to achieve naturalism. Ordinary subjects like A Quiet Day on Darebin Creek 1885 progressive techniques, shifting tones on the embankment, field of shifting forms rather than object of interest. The Artists’ Camp (1886) shows the emergence of plein air painting, the intimacy of nature and the artists, spatial relationships move and shift. McCubbin’s Lost (1886) middle-ground and background merged, cool tonality, little contrast light and dark, reduced scale. Jane Sutherland’s Obstruction, Box Hill (1887) constrained composition typical of the Heidelberg School, place non-descript with a note of tension. Streeton’s Fires On has typical spatial compression.

Roberts (Tom) A Moorish Doorway 1883
Tom Roberts, A Moorish Doorway, 1883

Roberts (Tom) A Quiet Day on Darebin Creek 1885
Tom Roberts, Quiet Day on Darebin Creek, 1885

Roberts (Tom) The Artists' Camp 1886
Tom Roberts, The Artists’ Camp, 1886

McCubbin (Frederick) Lost 1886
Frederick McCubbin, Lost, 1886

Sutherland (Jane) Obstruction Box Hill 1887
Jane Sutherland, Obstruction, Box Hill, 1887

Conder (Charles), Coogee Bay, 1888
Charles Conder, Coogee Bay, 1888

Streeton (Aurther Fires On 1891 AGNSW
Arthur Streeton, Fires On, 1891

Wednesday 2 August 2017 Kandinsky and Klee in Tunisia (Speaker: Professor Roger Benjamin, Art History, University of Sydney) AGNSW
Kandinsky and his partner Gabriele Münter spent three months in Tunisia in 1905. Joined by Klee and August Macke. Macke was killed in the WWI in 2014. Kandinsky’s Arab Cemetery (1909) shows encounter with fauve movement (Derain, Matisse), colour scheme not based on representation. Impression V (park) (1911) move to abstraction. Over the decade both Kandinsky and Klee moved towards abstraction. For Klee in 1914, ancient Moorish architecture, intense colour and indigenous art helped him perfect cubistic pictorial architecture.

Kandinsky (Vassily) Arab Cemetery (1909)
Kandinsky Arab Cemetery (1909)

Kandinsky (Vasily) Impression V (park) (1911)
Kandinsky Impression V (park) (1911)

Klee (Paul) View towards the Harbour at Hammamet 1914
Klee View towards the Harbour at Hammamet (1914)

Klee (Paul) Hammamet with Mosque (1914)
Klee Hammamet with Mosque (1914)

Thursday 27 July 2017 Art, Culture and Landscapes of Morocco (Speaker: Kenneth Park) AGNSW
Kingdom of Morocco, land of contrast from the sands of the Sahara to the snow-capped mountains of the Atlas Mountains. Marrakesh inland city oasis, trading city. Across the High Atlas Mountains, to the desert towns of Ouarzazate and its mud brick houses, and Erfoud main industry rose water and perfumes, turning north to Fez royal city, Chefchaouen the blue city, and the artisanal workshops of Tétouan, to Tangier, down the Atlantic Coast to the country’s capital, Rabat. Matisse in Morocco from 1912

Matisse (Henri) Moroccan Landscape (Acanthus), 1911-13
Moroccan Landscape (Acanthus), 1911-13

Matisse (henri) Entrance to the Kasbah, 1912, Hermitage Museum
Entrance to the Kasbah 1912

Matisse (Henri) Window at Tangier, 1911-12 Pushkin Museum Fine Art
Window at Tangier, 1911-12

Matisse (Henri) The Moroccans, 1915-16, Museum of Modern Art
The Moroccans, 1915-16

Wednesday 26 July 2017 Matisse and the Golden Light of Collioure (Speaker: Lorraine Kypiotis) AGNSW
Matisse first went to Collioure in 1905 (he was 35), it was a turning point in his art practice. Collioure is a catalan Port Town on the Spanish border between the mountains and the Mediterranean. Cezanne major influence, Matisse kept Les Trois Baigneuses (The Three Bathers) for 35 years. The intense colours of Collioure produced sun filled paintings that became known as ‘fauvism’, the central tenet to paint not the object but the effect it produces, light through the opposition of colours. Construction by coloured surfaces, intensity of colour where the subject matter became unimportant, light expressed by a harmony of intensely coloured surfaces. Le Goûter, Golfe de Saint-Tropez 1904, Luxe, Calme, Volupte 1904 reference to pointtilism (Seurat, Signac) followed by Landscape at Collioure 1905. Open Window, Collioure (1905) construction of image with colour, denied depth, tone contrast abandoned light through opposition of colour. Interior at Collioure (1905) interplay of space and perspective, denial of volume and depth, focus on picture plane and colour not on representation. Matisse worked with Derain every day in 1905 at Collioure. Inspired by Gaugin’s use of colours. Transformation in 1905 with Femme au Chapeau, controversial use of discordant colours. With The Green Line 1905 light and shadow transformed into colour, clashing harmony. Change of direction again with Les Aloes Collioure 1907, flat harmonic style. By 1908 Matisse’s fauve period was over, his aim to simplify and clarify, nature and the spirit of the painting, balance, harmony, and dissonance.

Matisee (Henri) Landscape-at-Collioure 1905
Landscape at Collioure 1905

Matisse (Henri) Open Window Collioure 1905
Open Window, Collioure 1905

Matisee (Henri) Interior at Collioure 1905
Interior at Collioure 1905

Matisse (Henri) woman-with-a-hat 1905
Femme au Chapeau 1905

Matisse (henri) Green_Line 1905
The Green Line 1905

Matisse (Henri) Les Aloes Collioure 1907
Les Aloes Collioure 1907

Wednesday 19 July 2017 Colin McCahon and Muriwai (Speaker: Justin Paton, Head Curator International Art AGNSW) AGNSW
Place and the power of art i.e. seeing places the way artists teach you to see. Influenced by symbolic painters Guston, Spencer, Rothko. Concerned with the loss of signs and symbols in much modern art. Early work Takaka: Night and Day (1948) geological bones, genesis landscape, symbol of the human condition. The Angel of the Annunciation (1947) raw early work. In 1950s and 1960s always asking questions. Awareness of abstract expressionists, abstraction, began reducing works many in black and white. Flounder fishing, night, French bay (1957), Northland panels (1958), Tomorrow will be the same but not as this is (1958), Painting (1958). Moved to west coast of North Island, New Zealand, to Muriwai. Here I give thanks to Mondrian (1961), Waterfall (1964), Victory over death 2 (1970), View from top of a cliff (1971). During the 1970s simplification, sublime, romantic, sacred, bi-cultural, major exploration of indigenous culture, concern with environmental degradation, the role of art in a post-religious culture. The Song of the Shining Cuckoo (1974).

McCahon (Colin) Takaka Night and Day (1948)
Takaka: Night and Day (1948)

McCahon (Colin) Flounder fishing, night, French bay (1957)
Flounder fishing, night, French bay (1957)

McCahon (Colin) Tomorrow will be the same but not as this is (1958)
Tomorrow will be the same but not as this is (1958)

McCahon (Colin) Waterfall (1962)
Waterfall (1962)

McCahon (Colin) Victory over death 2 (1970)
Victory over death 2 (1970)

McCahon (Colin) Muriwai. High Wind & Rain. Light Falls Through a Dark Landscape (1971)
Muriwai. High Wind & Rain. Light Falls Through a Dark Landscape (1971)

Wednesday 28 June 2017 David Hockney: a bigger splash in California (Speaker: Steven Miller, curator, AGNSW)
From Yorkshire where he worked as a farm hand in his youth. Initially failed general studies at art school (Royal College of Art 1962), and produced his own diploma in protest (in AGNSW collection) eventually granted a pass and awarded the gold medal for painting. Early influences Walter Sickert and Spencer Gore. Moved to California in his mid-twenties and was based there for 50 years. Works of the 1960s and 1970s regarded as some of his most successful works. Returned to Yorkshire in 1990s, his return to his roots has produced works that are making him perhaps the greatest English landscape painters since Turner. Key works and later landscapes: A Bigger Splash (1967) meticulous technique with a dig at the macho abstract expressionists; Mulholland Drive: The Road to the Studio (1980) move away from perspective; Pearblossom Highway (1986) uses photo montage to break space, multiple vanishing points; North Yorkshire (1997) sense of expansiveness, perspective, contours, horizons on horizons; The Road across the Wolds (1997) high horizon departure from the importance of sky in traditional English landscapes; Garrowby Hill (1998) no atmospherics, recalls Matisse and Van Gogh rather than the meticulously rendered compositions typical of his earlier work; A Bigger Grand Canyon (1998) technical, depiction of space and the experience of being within a space; Yorkshire Sketchbook (2004) spontaneous and spiritual, 2012 major exhibition watercolours and drawings.

A Bigger Splash 1967 by David Hockney born 1937
A Bigger Splash (1967)

Hockney (David) Pearblossum Highway (1986)
Pearblossom Highway (1986)

Hockney (David) A closer winter tunnel, February-March 2006 AGNSW
A closer winter tunnel, February-March (2006)

Wednesday 21 June 2017 Julie Gough and Judy Watson: The Memory of Place (Speaker: Stephen Gilchrist, Associate Lecturer, Art History, University of Sydney) AGNSW
Themes of political invisibility, dislocation, cultural memory, politics of place.
Judy Watson (Waanyi people northwest Queensland): pigment soaked canvasses, works intuitively through listening to oral histories, travelling into country, and research of official records. The work names of the natives includes a yellow clay pot which represents contact with the Macassans in the 18th century probably over more than 200 years before European contact.  bunya represents the lifecycle of regeneration.
Julie Gough (Trawlwoolway people Tasmania): work counteracts the selective accounts of Tasmanian history, her self-involvement in historical narratives, gathering the past into the present. Dark Valley, Van Dieman’s Land refers in part to the Tasmanian shell necklace tradition, a gap in the inheritance of that tradition from immediate family, and how the processes of dispossession of Country: colonisation: farming, hunting, mining are in part responsible for this gap. Made from coal ‘the darkest coldest blackness of our ancient island’s core, the antlers represent the avoidance and anxiety across Tasmania in terms of the unwillingness /inability to present colonial history as also Tasmanian Aboriginal history’. Bind, ‘a giant length of Tasmanian sagg or lomandra plant collected and twined and strung with black crow shells from four places in Tasmania. The shells are spaced to present as an unreadable calendar – indicative of months, decades, generations, events connecting Aboriginal people, places and practices in Tasmania’

Watson (Judy) museum piece 1998 AGNSW
Judy Watson, museum piece, 1998

Watson (Judy) names of the natives 2010 NGA
Judy Watson, names of the natives, 2010

Watson (Judy) bunya 2011
Judy Watson, bunya, 2011

Gough (Julie) Dark Valley, Van Diemen's Land, 2008 AGNSW
Julie Gough, Dark Valley, Van Dieman’s Land, 2008

Gough (Julie) Bind 2008 AGNSW
Julie Gough, Bind, 2008

Wednesday 14 June 2017 John Russell: Belle-Ile and Antibes in the fin-de-siècle (Speaker: Wayne Tunnicliffe) AGNSW
Wealthy Australian expatriate who built a grand house on Belle-Île-en-Mer off the coast of Brittany. Studied at the Slade School in London (under Alphonse Legros) from 1881 to 1883, and at the Atelier Cormon, Paris, from 1885 to 1887, where he formed a friendship with Vincent van Gogh, which resulted in the famous portrait of van Gogh (1886) now in the collection of the van Gogh Museum, Amsterdam. Painting at a time when French impressionism was at its height, associated with Rodin, Monet, van Gogh, Matisse, Sisley. Visitors to Belle-Ile included Monet, Rodin, Matisse. Russell spent twenty years painting at Belle–Ile–en-Mer. Influenced by Degas, cropping from photography, reference to Japanese prints (like van Gogh), intensity of colour. Paintings of Antibes feature looser brushwork, proto-fauve. Almost drowned Rodin in a boating incident, referred to in Rodin’s letter 1903.

Russell (John) The Needles at Belle Ile 1890 AGWA
Les Aiguilles de Belle-Ile, c 1890 AGWA

Russell (John) Landscape Antibes (The Bay of Nice) 1891 NGA
Landscape, Antibes (The Bay of Nice), 1891, NGA

Russell (John) Antibes, circa 1890-1892, AGNSW
Antibes, c 1890-1892, AGNSW

Russell (John) Storm Belle Ile 1905 AGNSW
Storm, Belle Ile, 1905, AGNSW

Wednesday 7 June 2017 Constantin Brancusi and the Garden of Jewels (Speaker: Ron Ramsey) AGNSW
Birds in Space, purchased by the National Gallery of Australia in 1973 (more than what was paid for Blue Poles, $1.3 million, but without the media hysteria). Brancusi designed the birds for a palace temple for the Maharaja of Indore, who wanted them and two other sculptures to stand around a square mirror of water in a temple for meditation. Brancusi went to India in 1937 to begin work on the temple, but it was never built. Born in Hobița, Romania where woodcarving was a central activity. The houses were built (in a pre-industrial revolution manner) of wood without nails. Brancusi ran away from home age 11, after some years in service, went onto art school in Bucharest and then to the École des Beaux-Arts in Paris. Romanian folk art influenced his work. He famously walked from Bucharest to near Paris, some nuns gave him money for a train ticket for the remainder of the journey. Friends and contemporaries included Amedeo Modigliani, Ezra Pound, Henri Pierre Roché, Guillaume Apollinaire, Louise Bourgeois, Pablo Picasso, Man Ray, Marcel Duchamp, Henri Rousseau, Peggy Guggenheim and Fernand Léger. Employed in Rodin’s studio, lasted one month, disagreed with methods. Early major work The Prayer (1907), simplified form. Differentiated the essential from the ephemeral. The Kiss (1907-08) influenced by Gauguin carvings from Tahiti. The plinth is integral to the sculptures, he created bases for his works. Bird sculptures grouped under three titles: Maiastra; Golden Bird; Bird in Space. Finish and surface highly polished, edges disappear. Derived from folk tales such as The Firebird (Brancusi probably saw Diaghilev’s Ballet 1913).

Brancusi (Constantin) The Prayer,1907
The Prayer, 1907

Brancusi (Constantin) The Kiss,1907-08
The Kiss, 1907-08

Brâncusi (Constantin) Maiastra 1912 Guggenheim Venice
Maiastra, 1912, Peggy Guggenheim Collection

Brancusi (Constantin) Golden Bird 1920, Chicago Art Institute
Golden Bird, 1920, Chicago Art Institute

Brancusi (Constantin)Birds in Space 1931-36 NGA
Birds in Space, 1931-36, National Gallery of Australia

Wednesday 31 May 2017 Georgia O’Keeffe and New Mexico (Speaker: Denise Mimmocchi) AGNSW
Studied under Arthur Wesley Dow, emphasis on structure, density, colour, lights and darks, an alternative to realism. By the mid-1920s, O’Keeffe recognized as one of America’s most important and successful artists, known for her paintings of New York skyscrapers, an essentially American image of modernity, as well as flowers. Influenced by Japanese art and Kandinsky. In the summer of 1929, O’Keeffe made the first trip to northern New Mexico. Inspired a new direction in her artwork. Spent the last 37 years of her life in New Mexico. Minimal, powerful, cultivated sense of spirituality, influence of Indian culture, no figurative description, simplification, abstract essence of place, intimate spacing, still atmosphere, magnified image of place distilled into contours.

 

O'Keeffe (Georgia) Black Mesa Landscape, New Mexico Out Back of Marie's II, 1930, Geogia O_Keeffe Museum
Black Mesa Landscape, New Mexico / Out Back of Marie’s II, 1930, Georgia O’Keeffe Museum

 

O'Keeffe (Georgia) Back of Marie's No. 4, 1931, Georgia O_Keeffe Museum
Back of Marie’s No. 4, 1931, Georgia O’Keeffe Museum

O'Keeffe (Georgia) Mesa and Road East, 1952, Georgia O_Keeffe Museum
Mesa and Road East, 1952, Georgia O’Keeffe Museum

Wednesday 17 May 2017 Sir John Everett Millais – the Allure of Scotland (Speaker: Dr Alison Inglis, Professor of Art History, University of Melbourne) AGNSW
Child prodigy, won a place at the Royal Academy schools at age eleven. At age 19-21 one of the founding members of the Pre-Raphaelite Brotherhood (with William Holman Hunt and Dante Gabriel Rossetti) un-idealised paintings, experience, truth to nature. From 1870s lived and painted in Scotland. Dramatic evocation of geology and the landscape.
Chill October (1870) early landscape time of day and seasons.
Autumn Leaves (1856) about mood and feeling
Lingering Autumn (1880) sky, space, mood.
Late landscapes innovative, reflect physical experience, move away from the sublime and picturesque. Late landscapes being re-evaluated.

Millais (John Everett) Waterfall at Glenfinlas 1853
Waterfall at Glenfinlas (1853)

Millais (John Everett) Flowing to the River 1871 Tate
Flowing to the River (1871)

Millais (John Everett) The Sound of Many Waters 1876
The Sound of Many Waters 1876

Millais (John Everett) Lingering Autumn 1890
Lingering Autumn (1880)

Wednesday 10 May 2017 Eugene von Guérard and Cape Schanck (Speaker: Dr Ruth Pullin) AGNSW
Travelled extensively made detailed drawings: Italy, Germany, Australia (28 years), New Zealand. Work captures the essence of place. Vantage points carefully selected, the picture in nature, character of place. Painted Milford Sound (1977-79) from sketches after spending one day in the location. Influenced by Alexander von Humboldt who encouraged artists to visit remote areas. Sketchbooks held by State Library NSW. Rock drawings with geological detail, understanding of geological formations. Scientists and artists visited Cape Schanck, convergence of the romantic and scientific. Accompanied several scientific expeditions. Oil sketches painted on location. Painting directly from nature part of his practice.

von Guerard, Castle Rock, Cape Schanck 1865 AGSA
Castle Rock, Cape Schanck (1865)

von Guerard (Eugene) Tea Trees Near Cape Schanck 1865 NGV
Tea Trees near Cape Schanck, Victoria, 1865

von Guerard (Eugene) Lower Part of Castle Rock Cape Schanck 1873 AGNSW
Lower part of the Castle Rock below the Lighthouse, Cape Schanck, Victoria (1873)

Wednesday 3 May 2017 Caspar David Friedich, Rugen and the Northern Sublime (Speaker: Mark Ledbury) AGNSW
Northern sublime and romanticism, complex aesthetic, spiritual and political. Avid walker, contemplation of heights, panoramic views, his landscape paintings a compilation of many drawings. The concept of the sublime is more than the beautiful or picturesque, it has elements of danger, turbulence, threat, it propelled landscape painting in 18th century and beyond. Friedrich’s paintings encompass the sublime, romanticism, human smallness in nature, German folklore, often feature a vast amount of empty space.

Friedrich (Caspar David) Monk on the Seashore (1808-10) Alte Nationalgalerie Berlin
Monk on the Seashore (1808-10), Alte Nationalgalerie, Berlin

Friedrich (Caspar David) Wanderer above the sea of fog 1818 Hamburg, Kunsthalle
The Wanderer Above a Sea of Fog (1818), Kunsthalle, Hamburg

Friedrich (Caspar David) Chalk Cliffs on Rügen 1818
The Chalk Cliffs at Rugen (1818), Museum Oskar Reinhart, Winterthur

Friedich (Caspar David) The North Sea in Moonlight 1823-24 Narodni Galerie Prague
The North Sea in Moonlight (1823-24), Narodni Galerie, Prague

Wednesday 26 April 2017 JMW Turner and the Sea (Speaker: Jane Messenger) AGNSW
First landscape exhibited Fishermen at Sea, light and mood, followed Rembrandt’s use of light. Use of light as a narrative structure, movement, light and air, experience of the sensation of place. Influenced Monet and Pissarro. Changed style in 1830s, colour beginnings, sketches in watercolour used for oil paintings, eliminated the need for underpainting. Yellow, blues, red, light over dark washes to capture atmosphere, compositional structure. In the oils use of palette knife and impasto. Burial at Sea symbolic use of colour. In his later works not interested in representation but in nature, shifting energy.

Fishermen at Sea exhibited 1796 by Joseph Mallord William Turner 1775-1851
Fishermen at Sea (1796) oil

The Bass Rock c.1824 by Joseph Mallord William Turner 1775-1851
The Bass Rock (1824) watercolour

Coastal Terrain c.1830-45 by Joseph Mallord William Turner 1775-1851
Coastal Terrain (1830-45) watercolour

Stormy Sea with Dolphins c.1835-40 by Joseph Mallord William Turner 1775-1851
Stormy Sea with Dolphins (1835-40) oil

Peace - Burial at Sea exhibited 1842 by Joseph Mallord William Turner 1775-1851
Peace Burial at Sea (1842) oil

Snow Storm - Steam-Boat off a Harbour's Mouth exhibited 1842 by Joseph Mallord William Turner 1775-1851
Snow Storm – Steam Boat off Harbour’s Mouth (1842) oil

Wednesday 5 April 2017 John Glover in Tasmania (Speaker: Dr David Hansen, ANU) AGNSW
Naturalist and ornithologist, closely observed new landscape in Australia. Among the earliest Australian landscape painters (emigrated in 1830). Influence of empire to idealise/domesticate an alien landscape into (1) Pastoral arcadia and (2) Aboriginal arcadia (set piece figure groups).

Glover (John) Launceston and the river Tamar 1832 AGNSW
Launceston and the river Tamar (1832)

Glover (John) Mount Wellington and Hobart Town from Kangaroo Point 1834
Mount Wellington and Hobart Town from Kangaroo Point (1834)

Wednesday 29 March 2017 Conrad Martens and Burragalong Cavern (Speaker: Dr Kathleen Davidson) AGNSW
Martens painted Burragalong Cavern (now called Abercrombie Caves) on site in 1843, an early practitioner of en plein air painting. The painting Stalagmites, Burragalong Cavern is a finished work not a sketch, an actual visual account which captures the mood of place. His work focussed on geology, factual depiction, analytical observation but also naturalism, modernity, the sublime, and elements of the picturesque. In 1833 as ships artist, Martens sailed on the Beagle with Charles Darwin to South America. Darwin’s empirical observation of landscape forms and climatic conditions influenced Martens’ practice.

Martens (Conrad) Interior of the Burrangalong Cavern 1843 AGNSW
Stalagmites, Burragalong Cavern (1843)

Martens (Conrad) Orofena, Tahiti (circa 1835) AGNSW
Orofena, Tahiti (circa 1835)

Martens (Conrad) Burning mountain (Mount Wingen, near Scone) 1874 AGNSW
Burning mountain (Mount Wingen, near Scone) 1874

Wednesday 22 March 2017 For Nation and Empire: George Lambert and Ibrahim Calli at Gallipoli (Speaker: Dr Andrew Yip) AGNSW
Lambert framed the image of frontier and nation and then transported this during his time as official Gallipoli artist. Contrasted with the generation of Turkish modernists (1914) led by Ibrahim çalli,

Wednesday 8 March 2017 Constable: Flatford Mill and the River Stour (Speaker: Lorraine Kypiotis) AGNSW
Landscape as contemplation, sparkle of light, drama of light and shade, natural perspective, fidelity to nature. Followed Claude Lorrain. From about 1814 painted outdoors. For his studies, painted on glass then placed paper over it to obtain the image, then drew grid on the work to use for large scale studio painting. Made full scale oil sketches for six foot paintings. Studied meteorology and produced many studies of clouds used as references for later paintings. Work praised by the French 1824 (in particular Eugène Delacroix) for attention to colour and tone. Inspired the Barbizon school and movement towards realism. Challenged the cannon of art practice in England. The oil sketches now most admired aspect of his work.

Constable (John) Study of the Trunk of an Elm Tree 1821 V&AM
Study of the trunk of an elm tree (about 1821), Victoria & Albert Museum

Study for 'Flatford Mill' circa 1816 by John Constable 1776-1837
Preparatory study for Flatford Mill (‘Scene on a Navigable River’) (1816-17), Tate Gallery

Constable (John) The White Horse oil sketch (1818-1819), National Gallery of Art, Washington
The White Horse oil sketch (1818-1819), National Gallery of Art, Washington

Wednesday 1 March 2017 Otagaki Rengetsu (Loutus Moon) a Japanese nun in nineteenth century Kyoto (Speaker: Melanie Eastburn) AGNSW
Revered poet, calligrapher, painter, and potter, lived (1791-1875) at he end of the Edo period and during the rise of the Meiji period (from 1868).

Thursday 23 February 2017 Art and Revolution: The Life and Death of the Russian Avant-Garde (Dr Rosamund Bartlett), AGNSW
Art and Terror in Stalinist Russia
From the last utopian dreams to the regimentation of the arts
Socialist realism: a totalitarian aesthetic
Shock brigades and Stakhanovites: the USSR in construction
The avant-garde on trial
Art references:
Rodchenko – 1928 denounced ‘imperialist photography’
Shostakovich – opera The Nose 1930 – surrealist adventures of a nose. Recent performance directed by Barry Kosky, Royal Opera House, London – video available in full
Gustav Klutsis – photomontage
Pavel Filonov – in the last exhibition of the avant-garde
Aleksandr Deyneka – socialist realist
Aleksandr Gerasimov – socialist realist
Leonid Utyosov – jazz singer and comic actor

Wednesday 22 February 2017 Canaletto (speaker A/Professor David R Marshall) AGNSW
How the representation of a particular place, Venice, became a pictorial genre. Relationship between picture and place. Canaletto developed more graphic style for the British grand tourists (starting arriving around 1726), surveyed the city to create memory of place. Developed linear construction and perspective. Interesting comparison of Canaletto’s rough sketches and constructed drawings probably using camera obscura.

canaletto-giovanni-bacino-di-s-marco-1750-ngv
Bacino di S. Marco: From the Piazzetta (c. 1750), National Gallery of Victoria

canaletto-the-grand-canal-near-the-ponte-del-rialto-1725
The Grand Canal near the Ponte del Rialto (1725), Ashmolean Museum, Oxford

Thursday 16 February 2017 Art and Revolution: The Life and Death of the Russian Avant-Garde (Dr Rosamund Bartlett), AGNSW
Towards the Cultural Revolution
The Left Front of the Arts and Constructivism in Practice
A New Dialogue with the West: Berlin, Paris
Photomontage and the Revolutionary Art of Film
Art references:
Rodchenko and Steponova – 1920s design, photomontage, photography
Naum Gabo – metal and glass sculpture replaces traditional materials bronze and marble
Kurt Schwitters – used actual trash, such as broken items and scraps of paper, in his collages
Laszlo Moholy-Nagy – shaped by Dadaism, Suprematism, Constructivism
Sergey Eisenstein – film Battleship Potemkin

Wednesday 15 February 2017 Claude Lorrain (speaker Dr Lisa Beaven) AGNSW
Drawings and paintings of the Roman Campagna (the countryside around Rome). One of the first European plein air painters. Landscape paintings in the context of the topography, environmental history, and social conditions in the 17th century. Most studio work idealised paintings with elements of the Campagna during time of climate change and widespread malaria. Works usually for patrons who had substantial landholdings in the Campagna.

lorrain-claude-view-of-tivoli-1640-41-british-museum
View of Tivoli, 1640-1

lorrain-claude-view-of-la-crescenza-1648-50-met
View of La Crescenza 1648-50

lorrain-claude-drawing-of-a-tree-in-the-vigna-madama-1638-british-museum
Drawing of a tree in the in Vigna Madama, 1638

lorrain-claude-landscape-with-goatherd-and-goats-1636-7-national-gallery-of-london
Landscape with Goatherd and Goats 1636-7

Thursday 9 February 2017 Art and Revolution: The Life and Death of the Russian Avant-Garde (Dr Rosamund Bartlett), AGNSW
Art Revolution under the Bolsheviks
Art references

Suprematism and Constructivism
Goncharova
Roerich
Kandinsky
Chagall
Malevich
El Lissitzky
Rodchenko
Tatlin
Stepanova
Jawlensky

Wednesday 8 February 2017 Nonggirrnga Marawili: Yathikpa (speaker: Cara Pinchbeck), AGNSW
Bark paintings by Nonggirrnga Marawili, the Art Centre in Yirrkala, northeast Arnhem Land – wind, water, dynamism, living landscapes
 Some key art references:
Yathikpa 2013

marawili-nonggirrnga-yathikpa-2013-agnsw

Lightning and Sea Spray 2014

marawili-nonggirrnga-lightning-and-sea-spray-2014-agnsw

Lighting and the Rock 2015

marawili-nonggirrnga-lightning-and-the-rock-2015-agnsw

Thursday 2 February 2017 Art and Revolution: The Life and Death of the Russian Avant-Garde (Dr Rosamund Bartlett), AGNSW
A Revolution in Art on the Eve of 1917
Artists references:
Mikhail Larionov
Natalia Goncharova
Wassily Kandinsky
Marc Chagall
Kazimir Malevich
Vladimir Tatlin
Alexander Rodchenko
Varvara Stepanova

Wednesday 1 February 2017 The Power of Place for the Art Gallery of NSW (Dr Michael Brand), AGNSW
Some key art references:
David Moore (1966) Sydney Harbour gelatin silver photograph from 16,000 feet
Brett Whiteley (1975) The Balcony 2

2014
Sublime the Pleasure of the Overwhelming lecture series, Damien Freeman, AGNSW 2014
Civilisation: creating new worlds lecture series, Dr Christopher Hartney, AGNSW 2014

Collections, film

Tate Modern The rules of art according to Rauschenberg (2017)

Robert Rauschenberg Foundation

Richard Diebenkorn Foundation

Frank Auerbach, ArtUK public catalogue (55 artworks)

Emily Kame Kngwarreye exhibition National Museum of Australia Canberra 22 August to 12 October 2008

Painters Painting
1973 documentary directed by Emile de Antonio

Dombrovskis collection of Tasmanian wilderness photographs, 1978-1995, National Library of Australia
Gordon Splits, film by wilderness photographer Peter Dombrovskis
Olegas Truchanas and Peter Dombrovskis, edited excerpt from ABC TV’s Wildness website
Olegas Truchanas Lake Pedder audiovisual collection,  National Library of Australia
The Franklin River Blockade – Part 1
The Franklin River Blockade – Part 2

The Tarkine

In the Balance: Art for a Changing World, exhibition. Museum of Contemporary Art, Sydney, 2010, included David Stephenson photographs:
Drowned No. 62 (Lake Gordon, Tasmania)
Drowned No. 176 (Lake Pedder, Tasmania)
Self portrait looking down a survey cut, proposed site of Gordon below Franklin Dam, Tasmania

Turner at the Tate (DVD) – Snow Storm – Steam Boat off Harbour’s Mouth 1842

 

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